Aboriginal Art

You know how the Gems seem to have warp pads set up all around Earth? They must be pretty well-traveled, and it would be weird if depictions of them didn’t show up in archaeological records, legends, and ancient ruins here and there.

Seriously, imagine. Nearly all the native cultures of the Americas, from the Nazca to the Maya to the Inuit have some kind of story handed down throughout generations about four mysterious gem women.

Egyptian wall carvings of the gems along with hieroglyphs telling of their exploits. 

Ceramic Greek pots with depictions of the gems defeating the ‘legendary’ monsters of ancient Greek mythology. 

Old scrolls long hidden away in Chinese libraries speaking of the four great gem warriors that could defeat any man in battle and had supernatural powers. 

Australian Aboriginal rock art and bark paintings of women that somehow seem different from normal depictions of people, doing things that would be impossible for human beings.

The gems appearing as carving and paintings on medieval Scandinavian shields, armor, and talismans as a way to grant strength and bravery, and their exploits being told in great sagas.

The Maasai of Kenya singing traditional songs about the heroic gem warriors of ages past.

Depictions of female saints from medieval Roman Catholic churches and documents that look particularly otherworldly and all too familiar that just happen to fit the gems descriptions almost perfectly.

I need this to show up in canon, even if just as a passing nod like the painted portrait of the gems circa 17-18th century in Amethyst’s room.


Nadia Myre, Indian Act

Indian Act speaks of the realities of colonization - the effects of contact, and its often-broken and untranslated contracts. The piece consists of all 56 pages of the Canadian Federal Government’s Indian Act mounted on stroud cloth and sewn over with red and white glass beads. Each word is replaced with white beads sewn into the document; the red beads replace the negative space.


“Shelley Niro parodies the archetypal tourist tee-shirt from the point of view of First Nations Peoples as an exploration into the lasting effects of European colonialism in North America. Facing the camera directly and poised against the landscape of “America”, an Aboriginal woman with biker-like accessories bears a sequential series of statements on her tee-shirt that together comprise a discourse on colonialism. The darkly ironic and yet brutally truthful messages of "The Shirt” draw attention to the history of invasion that indigenous peoples have experienced in North America. By presenting the tee-shirts as souvenirs and memories of these impositions, Niro’s work suggests that the consequences of colonialism are still active today.“ - National Gallery of Canada


Shelley Niro,

Video stills from The Shirt, 2003


Rhymes For Young Ghouls (2014)

This film, set during the 1970s, is very dark and pessimistic story about a teenage Aboriginal girl dealing with the horrific residential school system while navigating an entire community traumatized by the ongoing legacy of colonialism on Turtle Island. It’s some of the best filmmaking I’ve seen in a long time. The film is in English and Mi'kmaq.

Kawennahere Devery Jacobs puts in a heart-wrenching and intense performance. And the cinematography is stunning. You’ve got to see this film! This is truly Indigenous Noir.


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Terrance Houle: Urban Indian Series (2004),

In a practice that ranges from performance to photography to film and video works, Blackfoot artist Terrance Houle remakes the troubled history of colonialism and First Nations identity with a roguish wit and punk-rock edge. His strategy matches self-deprecating humour with an uneasy undertone; the results cut away at both Aboriginal and non-Aboriginal notions of an urban Indian status quo. In his Urban Indian Series (2004), Houle is pictured grocery shopping, working in an office cubicle and riding public transit—all in elaborate powwow regalia.

In the performance video Friend or Foe (2010–11), he plays off cultural and historical gaps in communication while dressed in a loincloth and communicating by sign language.


Aboriginal Paintings.  Timmy Payungka Tjapangati Possum Dreaming for Children, Walter Tjampitjinpa Wild Potato Story, Anatjari Tjakamarra Big Pintupi Dreaming Ceremony, Tim Leura Tjapaltjarri Travelling Honey Ant Dreaming, Uta Uta Tjangala Women’s Dreaming, John Tjakamarra No Title, Yala Yala Gibbs Tjungurrayi No Title, Nosepeg Tjupurrula Three Ceremonial Poles, (top to bottom). 1970s.


Beauiful handmade Aboriginal Print Infinity Scarf - 100% cotton and double sided.The scarf is so vibrant, beautifully bold and very long so you can wrap it around a few times or wear it over your head. Perfect for keeping warm through the winter months but also suitable for spring and cool summer evenings…


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Nicholas Galanin

1. Get Comfortable

2. Things Are Looking Native, Native’s Looking Whiter

3. Inert

4-6. Imaginary Indian

7. White Carver

8. Video stills from ’Beat Nation

9-10. I think it goes like this?

Artist Statement:

I work with concepts; the medium follows. In the business of this “Indian Art World,” I have become impatient with the institutional prescription and its monolithic attempt to define culture as it unfolds. Native American Art cannot be commonly defined as our work moves freely through time. The viewer, collector, or curators’ definition will often convey more about themselves than that of the “Native Artist.” In the past I have struggled with this title, though I now embrace my position as a contemporary indigenous artist with belief that some forms of resistance often carry equal amounts of persistence. My current collection of work presents visual experiences in hope of inspiring creative dialogue with the viewer. I often work with an intention to contribute towards contemporary cultural development. Through education and creative risk-taking, I hope to progress cultural awareness both in and out of this Indigenous world. Let us leave fucked up stereotypes. While moving forward, we liberate the Indian artist.

*video from Beat Nation embedded below:


One of a kind Aboriginal Print Snood - 100% cotton lined with soft, warm matching fleece. Perfect for keeping warm through the winter months and long enough to cover your ears and neck….

Handmade with love, magic and fairy dust¸.•*¨`* ✩¸.•*¨`* ✩¸.•*¨`* ✩


Shop Online Here…